Theatre

The story of Carmen originates in the short novella written by Prosper Mérimée.  In this case, Bizet’s opera Carmen, libretto written by Henri Meilhac and Ludovic Halévy, is an adaptation of the original just as Carmen Jones is a different version written by Oscar Hammerstein II and Robert Russell Bennett.  Adaptations are increasingly popular in this day and age as most films shown in the cinema are remakes, as many Broadway shows have been previously performed in past decades, and as many music pieces are covered by amateur artists on the internet.  Such adaptations like the ones mentioned above receive great criticism from fans of the original.  A revival or new spin on an old idea always adds something, but similarly, always leaves something out.  In the comparison of Bizet’s Carmen and Hammerstein’s Carmen Jones, there are many things that are a let down while there are some things that are more accessible to a modern-day audience, especially in an American setting.  Let us explore some of these differences and come up with an overall conclusion – which version is the most effective? Continue reading →

Probably the most widely known opera is Carmen, written by Georges Bizet (score) and Henri Meilhac and Ludovic Halevy (libretto).  The story actually comes from a short novella written by Prosper Merimee.  Though there are other operas out there that compete for the spot of most known, I would argue that people of all ages and from all walks of life will be able to hum along to the Habañera or the Toreador’s song.  That being said, not everyone knows the story of Carmen, so let me enlighten you. Continue reading →

One of our field trips for the Arts in NYC seminar was to the New York City Center’s annual season of Fall for Dance.  Each performance is specialized – each featuring different dance companies and different types of dance.  The October 11th performance featured Shen Wei Dance Arts, Laboratory Dance Project, Circa, and the María Pagés Compañía.

SHEN WEI DANCE ARTS
Artistic Director Shen Wei
RITE OF SPRING 

I’ve heard Stravinsky’s composition before – most recently on WQXR and in an orchestra rehearsal last year.  My first reaction to the piece was – ugh!  It’s not a pleasant piece of music.  The Rite of Spring is extremely dissonant, busy, and rhythmic.  And for me, hearing it without any context was difficult and I couldn’t enjoy it.  In class, we had watched a version of Rite of Spring choreographed by Maurice Béjart.  The dancers were in nude bodysuits and the dancing was very provocative.  I quite enjoyed the performance seen on YouTube because there was a story behind it and seemed to have a logical progression.  Shen Wei’s choreography was abstract.  I don’t deal well with abstract.  I couldn’t focus on any one person in the performance.  All the dancers had similar costumes, and none of the dancers had a main role.  There was no “main character.”  The entire dance was around fifty minutes and seemed extremely repetitive.  There was no meaning behind the movements.  I couldn’t sense a story.  Overall, not one of my favorite performances. Continue reading →

Peter Pan has been readapted a myriad of times to theatre, cartoon, movies, and children’s book.  Each has a different take on J.M. Barie’s original mischievous forever-boy who flies.  Rick Elice (influenced by Dave Barry and Ridley Pearson’s novel) explores the story about the boy before the forever-boy.  He explores the boy without a name – the boy before Peter Pan. Continue reading →

Queens College’s Goldstein Auditorium held a Spanish language theatre performance on September 13, 2012, called “So Now?”.  The play was co-sponsered by the Center for Teaching and Learning, the Center for Ethnic, Racial, and Religious Understanding, and the Immigration Studies Working Group.  Iker Ortiz de Zárate, the writer of the play, and its main actor, held a talk-back afterwards, and created some interesting and open discussion about the idea of forgiveness. Continue reading →

I’ve read Shakespeare’s Macbeth, and I’ve enjoyed performances of Shakespeare’s Macbeth, but I’ve never been in Shakespeare’s Macbeth… until now.

Many know the story of Macbeth and the setting.  Macbeth (Matthew Baguth) is Thane of Glamis and as he walks through the woods one night with his friend Banquo (Thomas Stagnitta), he stumbles upon three witches – the Weird Sisters (Nina Chubalashvili, Krisztina Foldi, and Kelly Noll).  They tell him many things:  Macbeth will be Thane of Cardor and Macbeth will be king.  Stirred on by these prophecies, Macbeth is encouraged, especially by his wife Lady Macbeth (Shaunette Wilson), to kill King Duncan (Kevin Schwab) so that he can take his predestined place on the throne of Scotland.  Once this happens, however, Macbeth becomes crazed and paranoid.  He would do anything to remain on the throne and to see his sons as heirs.

That’s as simple as the plot gets.  A crazed man and his crazed monologues interspersed with other characters and conversations.  But this adaptation of Macbeth is a little different and not the traditional theatre performance. Continue reading →

Who knew that you could turn a strict and serious religion into a rock opera?  I guess Andrew Lloyd Weber and Tim Rice!  What a good job they did!  Every song, even the ballads, had such catchy rhythms that I couldn’t help but try to sing along or sway to the melody.

The story is of Jesus Christ (Paul Nolan) during the week before he is crucified.  It is supposedly told in the point of view of Judas (Josh Young), the betraying apostle.  There are times where Judas sings to the audience alone, but overall it just feels like a usual story.  The two main plot lines are those of Jesus’s followers (Hosanna is a song that shows their almost blind devotion) and those of the Rabbis of Jerusalem who are very against Jesus’s following (This Jesus Must Die). Continue reading →

I have to thank my European History background for helping me understand this play!  I can’t imagine following the wordy script without understanding the background of Medieval Europe, during the Pope crisis in the 14^th century.

Before mentioning the play, I would like to compliment the theatre complex – Signature Center.  Not only is there plenty of seating while waiting for the doors to open, but there is also a small café with hot/cold options to munch on before the show.  Featured playwrights have their plays for sale in a small bookstore next to the café.  Continue reading →

The Australian Ballet came to New York to perform different productions – Luminous, Dyad 1929, Warumuk, and finally Swan Lake.  Swan Lake was their most classical production, though this production was far from traditional in both story and choreography.

Based on Russian folktales, the original story of Swan Lake is about a princess who is turned into a swan by an evil sorcerer.  In Graeme Murphy’s version, Odette (Amber Scott) marries Prince Siegfried (Adam Bull) but then goes insane when she discovers his infatuation with the Baroness (Lana Jones).  In an insane asylum, she pretends to live in a dream world full of swans.  Later when she escapes the asylum, she crashes a party thrown by the Baroness and wins back the Prince’s heart, making the Baroness very jealous.  Odette flees the party and kills herself, allowing herself to always live in her dream world of swans.  The production was so spectacular and moving that the crowd was awed and my mom even cried! Continue reading →

This is a must see show for anyone with a sense of humor that loves the Harry Potter series.  If you are not one to “take the mick” out of something you love, then this might not be the place for you.  Daniel Clarkson and Jefferson Turner are two British actors/comedians who love the books as much as anyone else and they attempt to summarize the entire seven book plot in ONE SHOW!  Continue reading →